If the Bolshoi website (and other internet reports of performances) are accurate then Smirnova has been back on stage since late last summer, and she is scheduled for Swan Lake later this month.

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Also regarding Smirnova, she was just promoted to Principal last week at the Bolshoi! This fast rise would not have happened as quickly at the Mariinsky under the current administration, so congratulations to her burgeoning career!

Indeed... the Mariinsky always seem to have more dancers deserving of principal/prima status (ie. Osmolkina, Novikova...) than they care, for whatever reason, to promote ((

Actually it's usually an administrative/legal issue. There is a set number of principal "slots" and until someone leaves, others cannot be promoted. You will note that it is only when one spot vacates that the administration moves others up. They can't just promote at will for legal reasons.

Indeed... the Mariinsky always seem to have more dancers deserving of principal/prima status (ie. Osmolkina, Novikova...) than they care, for whatever reason, to promote ((

Actually it's usually an administrative/legal issue. There is a set number of principal "slots" and until someone leaves, others cannot be promoted. You will note that it is only when one spot vacates that the administration moves others up. They can't just promote at will for legal reasons.

for a large company, the mariinsky doesn't seem to have alot of available principal slots ....is it complicated by the fact that inactive principals often continue to be on it's roster?

I guess the 'why isn't she/he a principal?' also speaks to the company's tremendous depth among it's soloist ranks -that many of them are capable of consistently performing principal roles at a principal level )

Yes, that is part of the issue...it relates to the contracts that Honored Artists may have as principals as to how long they stay on the roster. I believe it's individual in each case so I can't comment specifically. But until a space vacates, no one else can move up.

In the final weeks before the Mariinsky's annual eleven-day ballet festival, the troupe geared up with heavily scheduled back-to-back performances. Two Don Quixotes followed two Swan Lakes at the start of the month, followed by two Shurales. On March 20th alone the Fokine mixed bill ran twice-- at noon and 7 p.m. with different casts. This programme, also known as the "Russian Seasons," is a popular casting choice for its petite smorgasbord of terpsichoric delights: we see four Fokine works in the span of one evening, which enables a larger range of dancers to be cast.

The 20th March performances had a special delight in store: Svetlana Ivanova, the coryphée who, according to everyone in educated ballet circles, should have made principal or at least soloist rank as long as a decade ago, was given a solo in Chopiniana during the matinee, followed by an appearance with Vladimir Shklyarov that same evening in Spectre de la Rose. The heavy burden of two same-day performances aside, this selection proved to be a welcome choice for the audience, for Ivanova's delicate lines and sensitive épaulement --a testament to her training under the famous Inna Zubkovskaya-- aptly support the romantic style of Chopiniana. In the Eleventh waltz, Ivanova unveiled full-bodied knowledge of the Romantic era and a lush slow port de bras, etched with the appropriate épaulement, along with light landings throughout the jeté sequence that suggested she had stepped out of a centuries-old tableau. Ksenia Ostreikovskaya likewise demonstrated precise musicality with an old-world manner at points where many rush through bourrée-laden Prelude. Ekaterina Osmolkina attacked the initial diagonal of jumps in the Mazurka section with verve and ease prior to her pas de deux with Timur Askerov, who came to life in the beaten tour jeté during his solo variation. This set of soloists, regardless of their actual ranks, brought a level of authenticity and understanding of the famous Fokine creation that suggests each are worthy of principal rank.

Kristina Shapran, dancing the role that Ivanova would take that same evening, proved a delight in her debut as the Girl in Spectre de la Rose alongside the untamable Philippe Styopin. With the improvement in Styopin's level of control over his delivery, this ever-stronger dancer is now better equipped for such roles compared to some years back. For her part, Shapran's exquisite feet etched a stutter of petite bourrés across the floor in the initial section where she is "asleep", truly giving one the impression of a young lady floating through a dream. Once she awakened to see the live Rose next to her, every muscle in her body seemed joyous, while the steps remained carefully executed.

Oksana Skorik reprised The Dying Swan with perfect lines, but it was the swell of the violins, as only the Mariinsky orchestra can correctly render, that emitted the deepest emotion.

Firebird closes the Fokine bill and here Anastasia Matvienko in the title role joined relative newcomer to the role, Alexander Romanchikov, as Ivan-Tsarevich in this colourful conception. Matvienko's precise approach aptly suited the flighty bird character, as she flitted through all of the sautés with somber passage and sharp lines. Romanchikov portrayed a mostly boyish figure as the young noble boy. His enthusiasm in catching the bird, and his innocence in meeting the Tsarevna, danced by Ksenia Dubrovina, aptly depicted the innocent nature of this Slavic fairy tale.

Now known in American ballet circles as the "cute conductor", expertly attentive to the ballet troupe's needs, Gavriel Heine conducted.

So unfortunate that Ivanova has been stuck as a coryphee when she proves to be one of the best dancers in the company every time she gets a soloist role. I am glad she got the opportunity to have the important roles in the Fokine bills. She would be so lovely in Giselle, and she almost got the chance, but I think she got injured or something happened. I don't think she ever got another chance at it. Did she ever dance it at the Mariinsky, Catherine?

Good question and no she has not danced Giselle yet. It took her the better part of 5+ months and an operation to repair the injury that occurred the night prior to her planned debut. And the administration has not offered it to her since. Sadly. Very very sadly. In fact, the performance I reviewed above was the first time she returned to Chopiniana after her operation so that was a big feat of sorts as well.

Besides Giselle, I would have loved to have seen Ivanova dance Juliet, Maria, Masha and so so many other roles...I guess there is little chance of that now is there?

Choreographers seem to admire her, she was sublime in Ratmansky's Concerto DSCH and if memory serves she would have opened the triple bill in london (if not for injury) ...a pity that she rarely seems to have the luck to match her talent

oh and is there any news on Wheeldon's Alice? Might anyone know when it will premiere? (apologies if it has already being mentioned) thanks)

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